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CNAA / Theses / 2017 / June /

The contribution of tenor Mihail Munteanʼs to the development vocal art of Opera in the Republic of Moldova


Author: Nistreanu Elena
Degree:doctor of history and Theory of Arts, Cultorology
Speciality: 17.00.01 - Audio-visual Arts (with specification: Theatrical Art; Musical Art; Cinematography, TV and other form of Audio-Visual Arts)
Year:2018
Scientific advisers: Vladimir Axionov
doctor habilitat, professor, Institute of Cultural Heritage of the Academy of Sciences of Moldova
Svetlana Ţîrcunova
doctor, professor, Academy of Music of the Theatre and Fine Arts
Institution: Academy of Music of the Theatre and Fine Arts

Status

The thesis was presented on the 13 June, 2017
Approved by NCAA on the 11 May, 2018

Abstract

Adobe PDF document – 0.47 Mb / in romanian

Thesis

CZU 784.087.684.131(048)(043.3)

Adobe PDF document 6.52 Mb / in romanian
212 pages

Keywords

Mihail Muntean, tenor, belcanto, opera, leading part, Masquerade Ball, Piazzo, Eugene Onegin, The Queen of Spades, Petru Rareș, Serghei Lazo, vocal technical difficulties, the Maria Bieșu Opera and Ballet Theatre

Summary

Structure of the thesis: introduction, four chapters, general coclusions and recommendations, bibliography consisting of 272 titles (in the Romanian, English, French, Italian, Spanish, German, Russian and Ukrainean languages), 7 appendices, 150 pages of the basic text, 48 appendix pages.

Area of research: the history of the opera interpretative art from the second half of the 20th and the beginning of the 21st centuries.

Purpose and objectives of the thesis: The purpose of the research consists is to present the appriciation of M. Munteanʼs contribution to the development of vocal art of opera in the Republic of Moldova on the basis of the analysis of the leading tenor parts from lyrical works by West-European, Russian and native composers, performed by the singer, some of the these parts being realized by him on the stage of the Maria Bieșu NOBT for the first time. The objectives of the research consist in presenting a complex analysis of the vocal parts from operas performed by M. Muntea; revealing both the vocal difficulties and technical problems present in them as well as presenting his methods of solving them; characterizing his interpretative manner and the singerʼs creative portrait in the context of opera art; determining the influence of his artistic activity on the development of opera art in the Republic of Moldova, and beyond its borders.

Scientific novelty and originality. The present thesis is the first complex research in native musical science devoted to the study of both the artistic process and the technical-vocal problems while working on the leading parts performed by M. Muntean in different operas. The results of the analysis of the West-European operas (Piazzo by R. Leoncavallo and Masquerade Ball by G. Verdi) the Russian operas (Eugene Onegin and The Queen of Spades by P. Tchaikovsky) and the national operas (Petru Rareș by E. Caudella and Serghei Lazo by D. Gherșfeld) have been introduced in scientific use. These operas are examined in the light of the tenorʼs original interpretative treatment. An original method of research that combines musicological and interpretative aspects has been used in the present investigation.

The scientific problem solved in the thesis consists in the theoretical argumentation of M. Munteanʼs contribution to the development vocal art of Opera, fact that proposes the necessary instrument for appreciating the value and share of this contribution to national musical culture, for using the obtained results both in native musicology as well as in the process of artistic education in the Republic of Moldova.

Theoretical value. The study M. Munteanʼs artistic activity constitutes a considerable contribution to the comprehension of the development of vocal art in the Republic of Moldova, and the evolution of the Maria Bieșu NOBT. The present work completes the information about the famous tenorʼs artistic image: about his interpretative style, the technical peculiarities of singing and the recommendations for overcoming the vocal difficulties. The theoretical conclusions can serve as basis for further scientific research in the field of vocal art.

Practical significance of the work. The results of the research can be used in the university courses Singing, Opera Mastery, History of Vocal Art, Interpretative Practice, History of Universal Music, History of National Music taught in specialized institutions. The formulated recommendations can be useful both to the students, teachers of singing and future researchers.

Application of scientific results. The results of the work were approved at international scientific conferences held in the Republic of Moldova and Russia being reflected in the authorʼs 10 scientific publications.